Jennifer R. Hubbard's Blog, page 80
March 8, 2012
Vital details
One of the pleasures of reading, and especially of rereading, is seeing the significance of little clues sprinkled early in a story. And watching the natural development of character and plot in unexpected, and yet somehow inevitable, directions.
I'll use The Hunger Games as an example because it's been so widely read (but I'll include my SEMI-SPOILER warning here, even though I suspect I was the last person to read this book). Anyway, here we go:
From the 2nd sentence: "My fingers stretch out, seeking Prim's warmth ..." The main character's attachment to her sister, Prim, is one of the driving forces of the trilogy. It sets Katniss's participation in the Hunger Games in motion, and it is the reason for Katniss's actions at the end of the series. So it is fitting that we learn about Prim immediately.
Two paragraphs later, we meet Buttercup, Prim's cat. We will see Buttercup rarely in the series, but always at critical moments, where he will symbolize something precious. (Ironically so, since Buttercup himself is a pretty rough customer.)
Early on in this fictional world, we discover that Katniss and her friend Gale are both good hunters. Katniss is especially skilled with bow and arrow, Gale with traps and snares. At first, we think these details are shown to us just to give the characters depth, to make us feel that we know them. But Katniss's skill plays a critical part in the Hunger Games and in several subsequent events in the trilogy. And Gale's skill turns out to be far more important than we could ever imagine, playing a critical part in the climax of the entire series. Things could not have happened the way they happened in book 3 without that crucial detail.
I love the way Collins used these character traits in the plot. Stories are not collections of random events and details--in that way, they differ from life. We choose only those details that have meaning. It's like constructing a building: the foundation, beams, bricks, windows, and stairs all have purpose. We won't usually have a random piece of wood sticking way out of the building at an angle, serving no function. We won't lug bags full of stones up to the roof and dump them there and do nothing with them. We may have decorative elements, but we choose them to fit the atmosphere of the building.
Everything in a story belongs. And ideally, each detail is brought in early enough so that it is a natural part of the world, and doesn't look like a bad retrofit.
I'll use The Hunger Games as an example because it's been so widely read (but I'll include my SEMI-SPOILER warning here, even though I suspect I was the last person to read this book). Anyway, here we go:
From the 2nd sentence: "My fingers stretch out, seeking Prim's warmth ..." The main character's attachment to her sister, Prim, is one of the driving forces of the trilogy. It sets Katniss's participation in the Hunger Games in motion, and it is the reason for Katniss's actions at the end of the series. So it is fitting that we learn about Prim immediately.
Two paragraphs later, we meet Buttercup, Prim's cat. We will see Buttercup rarely in the series, but always at critical moments, where he will symbolize something precious. (Ironically so, since Buttercup himself is a pretty rough customer.)
Early on in this fictional world, we discover that Katniss and her friend Gale are both good hunters. Katniss is especially skilled with bow and arrow, Gale with traps and snares. At first, we think these details are shown to us just to give the characters depth, to make us feel that we know them. But Katniss's skill plays a critical part in the Hunger Games and in several subsequent events in the trilogy. And Gale's skill turns out to be far more important than we could ever imagine, playing a critical part in the climax of the entire series. Things could not have happened the way they happened in book 3 without that crucial detail.
I love the way Collins used these character traits in the plot. Stories are not collections of random events and details--in that way, they differ from life. We choose only those details that have meaning. It's like constructing a building: the foundation, beams, bricks, windows, and stairs all have purpose. We won't usually have a random piece of wood sticking way out of the building at an angle, serving no function. We won't lug bags full of stones up to the roof and dump them there and do nothing with them. We may have decorative elements, but we choose them to fit the atmosphere of the building.
Everything in a story belongs. And ideally, each detail is brought in early enough so that it is a natural part of the world, and doesn't look like a bad retrofit.
March 6, 2012
Books of our youth: Spirited heroines, then and now
Last year, I asked several writers to share their tales of writing and publishing their second books. This year, I'm interested in the books we read in our youth that stick with us. I hope to feature a series of guest posts on this topic. First up is Judith Graves, author of UNDER MY SKIN and SECOND SKIN, for an interesting connection between a classic favorite and today's paranormal stories:
As a teen I read a lot of classics, as well as fantasy, sci-fi, and horror fiction, still the genres I prefer today. However, in my tweens I enjoyed the writings of one Canadian author, Lucy Maud Montgomery. Perhaps it's because I lived in Summerside, Prince Edward Island as a young girl – Anne mania has a solid hold on island residents and it left a lasting impression on me - from my enduring love of the sea, to my love of Anne of Green Gables.
I've re-read Anne's story many times. While I occasionally take on the entire series (there are around ten books in total), I usually pick up my dog-eared copy of the first title to be enthralled with Anne's adventurers once more (the slate scene – priceless!). This is a character that stands the test of time. Anne is smart, independent, imaginative, stubborn, impulsive, wild and cautious all at once. She has the perfect love interest in Gilbert Blythe, who pushes her to excel. Her best friend, Diana acts as an excellent foil – girly, popular, and yet willing to join Anne on her escapades. As with much of our current MG / YA fiction, Anne is an orphan, yet manages to forge an extended family with Marilla and Matthew Cuthbert, her loyal friends, and a few key teachers / adults along the way.
When I compare Anne's story to my own SKINNED series, I see a lot of the young, fiery redhead in my main character, Eryn. Eryn's an orphan sent to live in a small town after big city life in Vancouver (sea connection!), she's outspoken – a real smartass – and that often gets her in trouble, she doesn't like asking for help, and she's fiercely loyal to those she considers "pack". Swap cow pastures and potato fields with werewolf dens and a whole crop of paranormal creatures, and, yeah – Anne's influence is there – it's just wrapped up in a cloak of secrets, magic, myth and impending doom.
Now that I've branched into writing steampunk and have a new series in the works, I see Anne's influence even more so in the pseudo-Victorian world I'm creating for Amelia Strangeways and the STRANGEWAYS novels. The formality, the restrictions upon women. It's so much fun writing a character who can challenge the social norms to benefit others.
So, I thank you Maud, for providing such a brilliant example of a great female lead character – and for doing so in 1908, when women didn't even have the right to vote.
Cheers!
A firm believer that Canadian teen fiction can be sexy, action packed and snarky as hell – Judith Graves writes paranormal stories with attitude.
As a teen I read a lot of classics, as well as fantasy, sci-fi, and horror fiction, still the genres I prefer today. However, in my tweens I enjoyed the writings of one Canadian author, Lucy Maud Montgomery. Perhaps it's because I lived in Summerside, Prince Edward Island as a young girl – Anne mania has a solid hold on island residents and it left a lasting impression on me - from my enduring love of the sea, to my love of Anne of Green Gables.
I've re-read Anne's story many times. While I occasionally take on the entire series (there are around ten books in total), I usually pick up my dog-eared copy of the first title to be enthralled with Anne's adventurers once more (the slate scene – priceless!). This is a character that stands the test of time. Anne is smart, independent, imaginative, stubborn, impulsive, wild and cautious all at once. She has the perfect love interest in Gilbert Blythe, who pushes her to excel. Her best friend, Diana acts as an excellent foil – girly, popular, and yet willing to join Anne on her escapades. As with much of our current MG / YA fiction, Anne is an orphan, yet manages to forge an extended family with Marilla and Matthew Cuthbert, her loyal friends, and a few key teachers / adults along the way.
When I compare Anne's story to my own SKINNED series, I see a lot of the young, fiery redhead in my main character, Eryn. Eryn's an orphan sent to live in a small town after big city life in Vancouver (sea connection!), she's outspoken – a real smartass – and that often gets her in trouble, she doesn't like asking for help, and she's fiercely loyal to those she considers "pack". Swap cow pastures and potato fields with werewolf dens and a whole crop of paranormal creatures, and, yeah – Anne's influence is there – it's just wrapped up in a cloak of secrets, magic, myth and impending doom.
Now that I've branched into writing steampunk and have a new series in the works, I see Anne's influence even more so in the pseudo-Victorian world I'm creating for Amelia Strangeways and the STRANGEWAYS novels. The formality, the restrictions upon women. It's so much fun writing a character who can challenge the social norms to benefit others.
So, I thank you Maud, for providing such a brilliant example of a great female lead character – and for doing so in 1908, when women didn't even have the right to vote.
Cheers!
A firm believer that Canadian teen fiction can be sexy, action packed and snarky as hell – Judith Graves writes paranormal stories with attitude.
March 5, 2012
This is my brain on revisions
I was doing some internet research on mosquitoes, including their lifespan, and one of the search terms the search engine suggested to me was, "mosquito lifestyle."
It doesn't take a huge joke to amuse me, or to keep amusing me. Especially now, at the end of a big revision that has sucked up quite a few brain cells. I have had several chuckles out of "mosquito lifestyle" in the past 24 hours. Heck, I don't think the existence I've cobbled together for myself, beautiful as it is, qualifies as a "lifestyle." But insects get to have a lifestyle? Does it involve sports cars, I wonder? Sunglasses? Ascots? I'll bet it involves ascots.
You can see that the once-upon-a-time TV show "Lifestyles of the Rich and Famous" has forever influenced my perception of the word "lifestyle." Not that I ever really watched the show. The title told me enough: rich and famous people don't just have lives, they have lifestyles.
Such is the way a writer's brain works. I started with wanting to know how long mosquitoes live (they tend to die off when the temperature drops consistently below 50 degrees, just in case you've been waiting since my first paragraph for that big reveal). And I ended up thinking about ascots.
My point today is that, as much as writers complain about the downsides of writing--the energy required, the uncertainty, the self-doubt--sometimes an imagination is just a fun thing to have.
It doesn't take a huge joke to amuse me, or to keep amusing me. Especially now, at the end of a big revision that has sucked up quite a few brain cells. I have had several chuckles out of "mosquito lifestyle" in the past 24 hours. Heck, I don't think the existence I've cobbled together for myself, beautiful as it is, qualifies as a "lifestyle." But insects get to have a lifestyle? Does it involve sports cars, I wonder? Sunglasses? Ascots? I'll bet it involves ascots.
You can see that the once-upon-a-time TV show "Lifestyles of the Rich and Famous" has forever influenced my perception of the word "lifestyle." Not that I ever really watched the show. The title told me enough: rich and famous people don't just have lives, they have lifestyles.
Such is the way a writer's brain works. I started with wanting to know how long mosquitoes live (they tend to die off when the temperature drops consistently below 50 degrees, just in case you've been waiting since my first paragraph for that big reveal). And I ended up thinking about ascots.
My point today is that, as much as writers complain about the downsides of writing--the energy required, the uncertainty, the self-doubt--sometimes an imagination is just a fun thing to have.
March 2, 2012
Who is the real audience?
The tension between art and commerce is often expressed as a clash between the spiritual and material. At its bluntest and most oversimplified, it's expressed as: Do I write from my heart and tell my True Stories, or do I sell out and make a lot of money?
And of course, it's not nearly that simple. First of all, neither of those things--writing from the heart or writing big-selling books--is easy. It's not a matter of snapping one's fingers and deciding to do it. Coming up with original ideas and polishing one's craft to a shine require tremendous commitment, and effort doesn't guarantee achievement; a writer can still miss the mark. Writing a bestseller does not mean stringing together a bunch of trendy cliches and watching the money roll in.
Obviously, what most writers want to do is write what they love and sell a bajillion copies, but that's the hardest trick of all. And so there's a more subtle version of this conflict that plays out in the lives of many writers: Do I write this story that's calling to me, but that my agent doesn't think he can sell? Do I try to write in the genre that's selling big right now?
There is no single right answer to those questions. A writer may pursue the story that sings to her, but find no readers for it. But there's no guarantee she'll find readers when she tries a popular genre, either. On the other hand, she may try a new genre because it's currently hot and find that she loves it and feels at home in it. That balance of risks and rewards is an individual decision.
Ultimately, it's natural for a writer to want to please herself and to please readers. It's an interesting task we take on: to express something meaningful or entertaining, and to have it relevant to someone outside our own rooms.
I know writers who say they never worry about the audience. And I know writers who say the reader is their foremost concern, that the reader is what it's all about. From reading their work, I know that either approach can produce good books.
And of course, it's not nearly that simple. First of all, neither of those things--writing from the heart or writing big-selling books--is easy. It's not a matter of snapping one's fingers and deciding to do it. Coming up with original ideas and polishing one's craft to a shine require tremendous commitment, and effort doesn't guarantee achievement; a writer can still miss the mark. Writing a bestseller does not mean stringing together a bunch of trendy cliches and watching the money roll in.
Obviously, what most writers want to do is write what they love and sell a bajillion copies, but that's the hardest trick of all. And so there's a more subtle version of this conflict that plays out in the lives of many writers: Do I write this story that's calling to me, but that my agent doesn't think he can sell? Do I try to write in the genre that's selling big right now?
There is no single right answer to those questions. A writer may pursue the story that sings to her, but find no readers for it. But there's no guarantee she'll find readers when she tries a popular genre, either. On the other hand, she may try a new genre because it's currently hot and find that she loves it and feels at home in it. That balance of risks and rewards is an individual decision.
Ultimately, it's natural for a writer to want to please herself and to please readers. It's an interesting task we take on: to express something meaningful or entertaining, and to have it relevant to someone outside our own rooms.
I know writers who say they never worry about the audience. And I know writers who say the reader is their foremost concern, that the reader is what it's all about. From reading their work, I know that either approach can produce good books.
March 1, 2012
Goodies
Sheela Chari has a great post today in which she talks about how writers "should be careful not to interpret everything for our reader, and to tell them how to think about our characters." I happen to agree (as both a reader and a writer, my preference is having more room for reader imagination and interpretation), although I've noticed that readers vary in how much they want explained, described, and interpreted. I don't think there is any one style that suits all readers, but rather that readers gravitate toward writers who use the style they prefer. But it's something to think about, because the writer always has to leave some room for the reader. And filling in too much can really slow a story down.
I'm the guest blogger at Carmen Ferreiro Esteban's today, talking about "my road to publication. Since Carmen discusses both traditional and self-publishing, I tried to raise some points worth considering for writers who are wondering which road might be right for them.
And I want to give a congratulatory shout-out to my friend Kelly Fineman on the release of her debut picture book today: At the Boardwalk! Illustrated by Monica Armino with a depth and a glowing beauty that set off Kelly's poetry, this is a true treasure:
Today may be a chilly March day, but you can breathe in the sea air and soak up the sun through Kelly's lyrical words, which bring alive a day at the shore.
And since nobody throws an online launch party like Jama Rattigan, I urge you to head to Jama's for glimpses inside Kelly's book, and (of course) celebratory virtual treats!
I'm the guest blogger at Carmen Ferreiro Esteban's today, talking about "my road to publication. Since Carmen discusses both traditional and self-publishing, I tried to raise some points worth considering for writers who are wondering which road might be right for them.
And I want to give a congratulatory shout-out to my friend Kelly Fineman on the release of her debut picture book today: At the Boardwalk! Illustrated by Monica Armino with a depth and a glowing beauty that set off Kelly's poetry, this is a true treasure:
Today may be a chilly March day, but you can breathe in the sea air and soak up the sun through Kelly's lyrical words, which bring alive a day at the shore.
And since nobody throws an online launch party like Jama Rattigan, I urge you to head to Jama's for glimpses inside Kelly's book, and (of course) celebratory virtual treats!
February 28, 2012
Getting out and about
Today I'm visiting another blog: Laurel's Leaves, where I discuss writing male characters. Samples: "I thought of myself as a person and my characters as people, without dwelling much on which of us were male or female. ..." and "...not all guys are alike, so don't assume that any one person can speak for a whole gender ..." Feel free to stop by there and check it out!
In other news, March 26 - April 1 will be chock full of events for YA readers in New York. Check out the NYC Teen Author Festival Facebook page. I'd be happy to see you at either of my events (the panel at the library on March 31 at 2:50, or the Books of Wonder signing on April 1 at 1:45), but there are dozens of great authors doing events all week, culminating in a "No-Foolin' Mega-Signing" on April Fool's Day!
In other news, March 26 - April 1 will be chock full of events for YA readers in New York. Check out the NYC Teen Author Festival Facebook page. I'd be happy to see you at either of my events (the panel at the library on March 31 at 2:50, or the Books of Wonder signing on April 1 at 1:45), but there are dozens of great authors doing events all week, culminating in a "No-Foolin' Mega-Signing" on April Fool's Day!
February 26, 2012
Beyond happily ever after
A typical way to handle romantic storylines is to make the couple's getting together the goal, and the obstacles throughout the story are designed to frustrate that goal. When the couple gets together, the story's over. Many fairy tales work this way, complete with the line, "And they lived happily ever after."
But real-life romances don't work that way. And it can be nice to find stories where characters discover that just getting together doesn't magically solve all their problems, where they work through the issues of couplehood. This is more often seen as a storyline for adult books rather than YA, and certainly adults are more likely to be dealing with long-term romances.
However, romances in the teen years are no less real and no less emotional. During these years, people are learning how to be in relationships, how to balance their own needs and the other person's, how much common ground is enough to sustain a relationship, what the deal-breakers are, etc. And there's plenty of story material in all of that.
But real-life romances don't work that way. And it can be nice to find stories where characters discover that just getting together doesn't magically solve all their problems, where they work through the issues of couplehood. This is more often seen as a storyline for adult books rather than YA, and certainly adults are more likely to be dealing with long-term romances.
However, romances in the teen years are no less real and no less emotional. During these years, people are learning how to be in relationships, how to balance their own needs and the other person's, how much common ground is enough to sustain a relationship, what the deal-breakers are, etc. And there's plenty of story material in all of that.
February 24, 2012
Walk in the woods
Today, I woke up with one goal: get out into the woods.
While I take a walk every day, I haven't hiked in the woods for a while. And this was the perfect day to do so: cool and cloudy gray. My husband and I met only a couple of other people on the trail.
I had no writing epiphanies. I wasn't mulling over a plotline or how to further develop a character. Often, I do those things while I walk, but today was more about refilling the well. Exercising the body and resting the mind.
Hope your weekend is beginning well also!
While I take a walk every day, I haven't hiked in the woods for a while. And this was the perfect day to do so: cool and cloudy gray. My husband and I met only a couple of other people on the trail.
I had no writing epiphanies. I wasn't mulling over a plotline or how to further develop a character. Often, I do those things while I walk, but today was more about refilling the well. Exercising the body and resting the mind.
Hope your weekend is beginning well also!
February 23, 2012
Plague books
There's something fascinating, in a scary way, about plagues and epidemics--perhaps because we know how vulnerable we are. A plague is the kind of disaster that can't be fought off with guns and explosions, but with brains and research, with vision and commitment.
If you have any interest in nonfiction on this topic, I highly recommend Randy Shilts's And the Band Played On. It's the story of AIDS and HIV: of the people who lived and died and lost, of communities that were devastated, of researchers who struggled to understand this mysterious new disease and then to try to cure it, of public health professionals who tried to prevent it, of politicians who controlled funding and government response. It starts with individual cases, then grows to cover a web of interconnected cases, and ultimately deals with the machinery of a global society.
I've been thinking about this because I just finished reading Megan Crewe's novel about a mysterious plague, The Way We Fall.
Teenager Kaelyn starts out the novel trying to improve herself and cope with the loss of a friendship, but it isn't long before she and her town are dealing with a bigger, more urgent matter: a strange new illness that turns out to be fatal in almost all cases. The diary format and the character's change from personal interests to the sacrifices triggered by a life-or-death situation, along with the slow but steady increase in tension and the inexorable raising of the stakes, reminded me of Susan Beth Pfeffer's riveting Life As We Knew It.
The Way We Fall has the benefit of being both plot- and character-driven. It was a pleasure and a relief to encounter protagonists who are smart, who don't do inexplicably stupid things just to force a plot twist (a peeve of mine). Which isn't to say they always do the right thing, but that their behavior makes sense. Despite the inevitable sadness (you know some characters are going to die in a plague novel), there are bright spots and triumph as well. Although this is the first book of a trilogy and certain questions remain at the end of the book, the story ends at a satisfying place.
source of recommended reads: bought
If you have any interest in nonfiction on this topic, I highly recommend Randy Shilts's And the Band Played On. It's the story of AIDS and HIV: of the people who lived and died and lost, of communities that were devastated, of researchers who struggled to understand this mysterious new disease and then to try to cure it, of public health professionals who tried to prevent it, of politicians who controlled funding and government response. It starts with individual cases, then grows to cover a web of interconnected cases, and ultimately deals with the machinery of a global society.
I've been thinking about this because I just finished reading Megan Crewe's novel about a mysterious plague, The Way We Fall.
Teenager Kaelyn starts out the novel trying to improve herself and cope with the loss of a friendship, but it isn't long before she and her town are dealing with a bigger, more urgent matter: a strange new illness that turns out to be fatal in almost all cases. The diary format and the character's change from personal interests to the sacrifices triggered by a life-or-death situation, along with the slow but steady increase in tension and the inexorable raising of the stakes, reminded me of Susan Beth Pfeffer's riveting Life As We Knew It.
The Way We Fall has the benefit of being both plot- and character-driven. It was a pleasure and a relief to encounter protagonists who are smart, who don't do inexplicably stupid things just to force a plot twist (a peeve of mine). Which isn't to say they always do the right thing, but that their behavior makes sense. Despite the inevitable sadness (you know some characters are going to die in a plague novel), there are bright spots and triumph as well. Although this is the first book of a trilogy and certain questions remain at the end of the book, the story ends at a satisfying place.
source of recommended reads: bought
February 21, 2012
Why Suicide?
My latest novel, Try Not to Breathe, is about a boy recovering from a suicide attempt. The main character also befriends a girl who is seeking answers about her father's suicide. While I certainly tried to make the book as realistic as possible, it is still a novel, and I'm glad to have the opportunity to discuss a nonfiction resource about the topic of suicide.
Upon hearing about my novel, Eric Marcus kindly offered me a copy of his nonfiction book Why Suicide?: Questions & Answers About Suicide, Suicide Prevention, and Coping with the Suicide of Someone You Know. The book's approach is described by the author in the introduction: "I don't pretend to be an expert on the subject of suicide. And I'm not a psychologist, psychiatrist, or social worker. I'm a journalist by training." True to that journalistic method, the book provides facts and statistics, mixed with a wealth of interview quotes from individuals who have experienced the suicide of a loved one. Eric Marcus is also candid about the incident in his own life that sparked his original interest in this topic: the suicide of his father.
Why Suicide? opens with chapters that cover a wide range of basic data. These are followed by chapters that focus on topics such as teen and youth suicide; suicide among the elderly; and suicide prevention. The appendix contains suicide-prevention resources.
The book, formatted in Q&A fashion, was initially intended to be, in the author's words, "the kind of book that would have enabled my family to help me cope with the circumstances of my father's death" and "a broad resource for anyone whose life has been touched by suicide." I find that, in addition, it can serve as a general resource for writers or readers who seek both hard numbers and personal stories. The book honors the fact that there is no single true story of suicide, no one way to deal with it. It also offers hope.
One additional resource: The National Suicide Prevention Lifeline is at 1-800-273-TALK.
Upon hearing about my novel, Eric Marcus kindly offered me a copy of his nonfiction book Why Suicide?: Questions & Answers About Suicide, Suicide Prevention, and Coping with the Suicide of Someone You Know. The book's approach is described by the author in the introduction: "I don't pretend to be an expert on the subject of suicide. And I'm not a psychologist, psychiatrist, or social worker. I'm a journalist by training." True to that journalistic method, the book provides facts and statistics, mixed with a wealth of interview quotes from individuals who have experienced the suicide of a loved one. Eric Marcus is also candid about the incident in his own life that sparked his original interest in this topic: the suicide of his father.
Why Suicide? opens with chapters that cover a wide range of basic data. These are followed by chapters that focus on topics such as teen and youth suicide; suicide among the elderly; and suicide prevention. The appendix contains suicide-prevention resources.
The book, formatted in Q&A fashion, was initially intended to be, in the author's words, "the kind of book that would have enabled my family to help me cope with the circumstances of my father's death" and "a broad resource for anyone whose life has been touched by suicide." I find that, in addition, it can serve as a general resource for writers or readers who seek both hard numbers and personal stories. The book honors the fact that there is no single true story of suicide, no one way to deal with it. It also offers hope.
One additional resource: The National Suicide Prevention Lifeline is at 1-800-273-TALK.
